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Jednostkowość
Get PDFThis text is devoted to the singularity and theatricalization of the humanities.This text is devoted to the singularity and theatricalization of the humanities
W milczeniu
Get PDFThis is a memoir of Professor Kazimierz Bartoszyński. The theme of this essay is silence – literary silence, which is the result of convention, anecdotal silence, which prompts scholarly meetings and friendships, and metaphysical silence, which is connected with death.This is a memoir of Professor Kazimierz Bartoszyński. The theme of this essay is silence – literary silence, which is the result of convention, anecdotal silence, which prompts scholarly meetings and friendships, and metaphysical silence, which is connected with death
Pamięć o Zagładzie w perspektywie historyka teatru
Get PDFIn his Polski teatr Zagłady [The Polish Theater of the Holocaust], Grzegorz Niziołek, who starts with theater and specific theatrical performances and who focuses on artistic phenomena, presents problems that go far beyond art. This is a book that should be read by historians, literary scholars, political scientists and cultural experts. Sociologists and psychologists who study social behavior will also find some of its sections interesting. This Cracow theatrologist presents the extermination of Jews during the occupation of Poland as well as Polish-Jewish relations, i.e. one of the most difficult Polish problems, permeated with silence and resentment, in the form of a monograph and in relation to the history of post-war theater, of which it is an important part.In his Polski teatr Zagłady [The Polish Theater of the Holocaust], Grzegorz Niziołek, who starts with theater and specific theatrical performances and who focuses on artistic phenomena, presents problems that go far beyond art. This is a book that should be read by historians, literary scholars, political scientists and cultural experts. Sociologists and psychologists who study social behavior will also find some of its sections interesting. This Cracow theatrologist presents the extermination of Jews during the occupation of Poland as well as Polish-Jewish relations, i.e. one of the most difficult Polish problems, permeated with silence and resentment, in the form of a monograph and in relation to the history of post-war theater, of which it is an important part
Współczesna apokryficzność. Próba kulturoznawczej analizy zjawiska
Get PDFThe aim of this paper is to analyze the phenomenon of modern apocrypha from the perspective of cultural studies. The term ‘apocrypha’ is usually associated with early Christian and Gnostic texts, but the tradition of unorthodox writings is also continued in modern Western culture. It is not easy to formulate a comprehensive definition of apocrypha by analyzing this phenomenon only from the perspective of literary, historical and religious studies. The phenomenon of apocrypha is so complex that it should be described based on a kind of methodological bricolage. This method should allow one to understand the role that apocrypha play in modern culture. Many scholars have noticed that it is not possible to point to clear and obvious criteria that would allow us to assign a given text to the category of apocryphal writings. Most typologies of texts which are epistemologically valuable and which help scholars to identify certain features of apocryphal writings do not take into consideration the cultural qualities of non-canonical, unorthodox narratives. From the perspective of cultural studies, modern apocrypha can be seen not only as literary or religious texts but also as an important element of cultural autocommunication. As an element of cultural metacognition, apocrypha can also be regarded as a medium of cultural memory and collective identity.The aim of this paper is to analyze the phenomenon of modern apocrypha from the perspective of cultural studies. The term ‘apocrypha’ is usually associated with early Christian and Gnostic texts, but the tradition of unorthodox writings is also continued in modern Western culture. It is not easy to formulate a comprehensive definition of apocrypha by analyzing this phenomenon only from the perspective of literary, historical and religious studies. The phenomenon of apocrypha is so complex that it should be described based on a kind of methodological bricolage. This method should allow one to understand the role that apocrypha play in modern culture. Many scholars have noticed that it is not possible to point to clear and obvious criteria that would allow us to assign a given text to the category of apocryphal writings. Most typologies of texts which are epistemologically valuable and which help scholars to identify certain features of apocryphal writings do not take into consideration the cultural qualities of non-canonical, unorthodox narratives. From the perspective of cultural studies, modern apocrypha can be seen not only as literary or religious texts but also as an important element of cultural autocommunication. As an element of cultural metacognition, apocrypha can also be regarded as a medium of cultural memory and collective identity
Literaturoznawstwo osobiste
Get PDFThe article titled “Personal literary interpretation” deals with problems which have usually been marginalized in literary studies, but which seem to be very important in the context of the humanities, as broadly defined. The author of this article intends to rethink the problem of literary studies not in objective, but in personal terms. This is why the author wants to talk about what he calls personal literary interpretation, which has nothing to do with subjective or irrational thinking, but which is rather grounded in the hermeneutical rule that says that one must believe in order tounderstand a text or the other (where ‘believe’ also means: ‘to love’, ‘engage’, and ‘be open’). The article presents different determinants of this attitude, ranging from Dilthey to Heidegger and Gadamer. Finally, the author subscribes to the theory of personal interpretation, which is always dialogical.The article titled “Personal literary interpretation” deals with problems which have usually been marginalized in literary studies, but which seem to be very important in the context of the humanities, as broadly defined. The author of this article intends to rethink the problem of literary studies not in objective, but in personal terms. This is why the author wants to talk about what he calls personal literary interpretation, which has nothing to do with subjective or irrational thinking, but which is rather grounded in the hermeneutical rule that says that one must believe in order to understand a text or the other (where ‘believe’ also means: ‘to love’, ‘engage’, and ‘be open’). The article presents different determinants of this attitude, ranging from Dilthey to Heidegger and Gadamer. Finally, the author subscribes to the theory of personal interpretation, which is always dialogical
Wokół współczesnej sztuki dramatycznej w Polsce
Get PDFPolish contemporary drama (which is represented by a range of authors, from Tadeusz Różewicz and Sławomir Mrożek, Janusz Głowacki, Wiesław Myśliwski, Eustachy Rylski, Marek Koterski and Tadeusz Słobodzianek to Przemysław Wojcieszek, Michał Walczak, Piotr Tomaszuk, Tomasz Man and Dorota Masłowska) seems to be an integral part and a special, local manifestation of profound changes that have taken place in the European and American drama of the 20th and 21st centuries. Samuel Beckett, Eugène Ionesco, Tennessee Williams, Harold Pinter, John Osborne and Edward Albee influenced Polish dramaturgy, i.e. its general concept and philosophy, in many ways. They were pioneers and patrons of this transformation, just as Miron Białoszewski was in Poland. New Polish dramaturgy continues to go in this direction while looking for modern means of theatrical expression. Marek Hendrykowski examines and describes twenty-one contemporary dramas that are collected in two volumes titled Trans/formacja. Dramat polski po 1989 roku [Trans/formation: An Anthology of Polish Contemporary Drama after 1989], which were edited by Jacek Kopciński. The author of this article searches for features and “common places” (loci communes) that are typical of this form of art.Polish contemporary drama (which is represented by a range of authors, from Tadeusz Różewicz and Sławomir Mrożek, Janusz Głowacki, Wiesław Myśliwski, Eustachy Rylski, Marek Koterski and Tadeusz Słobodzianek to Przemysław Wojcieszek, Michał Walczak, Piotr Tomaszuk, Tomasz Man and Dorota Masłowska) seems to be an integral part and a special, local manifestation of profound changes that have taken place in the European and American drama of the 20th and 21st centuries. Samuel Beckett, Eugène Ionesco, Tennessee Williams, Harold Pinter, John Osborne and Edward Albee influenced Polish dramaturgy, i.e. its general concept and philosophy, in many ways. They were pioneers and patrons of this transformation, just as Miron Białoszewski was in Poland. New Polish dramaturgy continues to go in this direction while looking for modern means of theatrical expression. Marek Hendrykowski examines and describes twenty-one contemporary dramas that are collected in two volumes titled Trans/formacja. Dramat polski po 1989 roku [Trans/formation: An Anthology of Polish Contemporary Drama after 1989], which were edited by Jacek Kopciński. The author of this article searches for features and “common places” (loci communes) that are typical of this form of art
Ciało performatywne
Get PDFThe concept of a performative body is rooted in two traditions. The first tradition concerns actions, and therefore, it is wide-ranging (because it includes diverse social acts). The second tradition is narrow – it is closely linked to the effectiveness of actions and allows one to distinguish between reversible actions (the effects of which can be reversed) and irreversible ones (the effects of which are permanent). Both of these understandings, which were popularized, or developed, by John Loxley and John Austin, have become a source of reflection for researchers such as Shaun Gallagher, Donald Davidson and Jennifer Hornsby, among others. Their works encourage deeper thought on the properties of action itself and also make it possible to overcome Austin’s reductionism and describe (based on inspiration from Karl Raimund Popper’s work) the three main levels of a body’s performativity: the physical, emotive, and cognitive level.The concept of a performative body is rooted in two traditions. The first tradition concerns actions, and therefore, it is wide-ranging (because it includes diverse social acts). The second tradition is narrow – it is closely linked to the effectiveness of actions and allows one to distinguish between reversible actions (the effects of which can be reversed) and irreversible ones (the effects of which are permanent). Both of these understandings, which were popularized, or developed, by John Loxley and John Austin, have become a source of reflection for researchers such as Shaun Gallagher, Donald Davidson and Jennifer Hornsby, among others. Their works encourage deeper thought on the properties of action itself and also make it possible to overcome Austin’s reductionism and describe (based on inspiration from Karl Raimund Popper’s work) the three main levels of a body’s performativity: the physical, emotive, and cognitive level
Zwroty ku przestrzeni w badaniach literackich – próba uporządkowania pojęć i podstawowe rozróżnienia
Get PDFAn increased interest in space in the humanities can be referred to as a spatial, topographic or topological shift. This article is an attempt at organizing these concepts and defining the fundamental differences between them. Based on the findings of European and American researchers (including Edward Soja, Sigrid Weigel, Ernest W.B. Hess-Lüttich, and Joseph Hillis Miller) and a Polish literary scholar (Elizabeth Rybicka), the author tries to distinguish, and define the relationship, between spatial, topographic and topological shifts. This article was inspired by the terminological chaos in the Polish humanities.An increased interest in space in the humanities can be referred to as a spatial, topographic or topological shift. This article is an attempt at organizing these concepts and defining the fundamental differences between them. Based on the findings of European and American researchers (including Edward Soja, Sigrid Weigel, Ernest W.B. Hess-Lüttich, and Joseph Hillis Miller) and a Polish literary scholar (Elizabeth Rybicka), the author tries to distinguish, and define the relationship, between spatial, topographic and topological shifts. This article was inspired by the terminological chaos in the Polish humanities
